While there are clear failings in the digital economy for songwriters, it has also become clear that the industry itself, and its arcane licensing practices, should also assume a significant portion of responsibility. Quite frankly, if the global music publishing business were a house, its plumbing would be the leakiest, most bizarre, inefficient and complicated imaginable.
Relative to the history of music, we’re living in an incredibly unique time where all music is, theoretically at least, available at the tap of a finger or a basic voice command. However, as exclusivity takes hold, we’re going to see this shift, with a slight feeling of how music has previously been to consumers, but with a streaming spin.
Creator subscription platform Patreon has raised an additional $60 million that it says will be used “to take creator memberships to a whole new level.” Patreon has more than 3 million active patrons and 100,000 creators on the platform, and has paid out more than $1 billion to date.
All future releases of Pearson’s 1,500 current U.S. textbook titles will be updated in digital versions only rather than in print, a shift from the traditional education publishing model. Pearson called the new program a “product as a service” model, adding that the intention was to have its textbook publishing program “be much more like apps, professional software, or the gaming industry.”
Source: Pearson Puts Print Books to Bed
Intellectual property licensing schemes for chips may not strike you as the most exciting thing. But as the number of companies building their own silicon increases, often for very specialized use cases, having access to the IP from companies like Arm is something more companies than ever are looking to have.
Canada-born LANDR, the AI-powered creative platform for musicians, has closed its Series B financing round, raising $26 million.The round was led by Sony Innovation Fund, microphone manufacturer Shure, state-owned financing corporation Investissement Québec and Fonds de solidarité FTQ.
Google’s video-sharing platform YouTube and streaming video giant Netflix surged to the No. 2 and 3 spots in a ranking of the world’s most valuable media brands behind Disney. YouTube’s brand value jumped 46% to $37.9 billion, while Netflix’s value more than doubled to $21.2 billion, compared with Disney’s 40% gain to $45.8 billion this year from 2018, per an announcement that Brand Finance shared with Marketing Dive.
Described as “a technique for human image synthesis based upon artificial intelligence,” deepfakes are altered photos or videos that are definitely not what they seem, and in the context of copyright law, disrupting more than you think.
We are seeing the beginning of what may be the biggest paradigm shift in the music business in decades, but as with all big changes, we won’t appreciate the true magnitude of it until further down the road when more of the pieces have fallen into place.
Part of the problem here is that public libraries have little leverage with which to negotiate digital pricing and terms with publishers and vendors. With physical materials, our ability to buy and lend copies and to create rich collections for our communities is protected by law. In the digital world, however, we can’t license content without agreeing to the terms the publishers set.